Books › Old violins and violin lore, 1900 › scan 97
Scan 97
Old violins and violin lore, 1900
16 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3self approached far more nearly the raised viol form than he did later on when his own model improved. The Steiner pattern is therefore consistent with all these theories:—
5Firstly, that Steiner adopted the raised pattern which he found at Cremona, and which was then common throughout the violin-making world; that, returning early to Absam, he adhered to it, and, perhaps from motives of national pride, accentuated it Germano more.
7Secondly, that he visited Cremona later, when his own model was already formed, and was too proud to alter it.
9Thirdly, that German he was, and German he remained, and never went to Cremona at all.
11All these questions, upon which much ink and paper have been spent, remain more interesting to the antiquarian than to the collector. Still, an indescribable interest and a deep human pathos seem to cling about the meagre facts of this remarkable man's life.
13Stainer's popularity was so enormous that ten times the number of violins he could ever have made have been attributed to him, and his name has been forged quite as often as that of the great Stradivari.
15Stainer married in 1645, and was appointed one of the Archducal servants, 1669; he advanced rapidly in favour, became violin-maker to the Emperor's court, and was turning out instruments as fast as he could make them, forming such admirable pupils as Klotz
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